ED 089 305 PUB DATE Fart, Music, and Literature

Total Page:16

File Type:pdf, Size:1020Kb

ED 089 305 PUB DATE Fart, Music, and Literature DOCUMENT RESUME ED 089 305 CS 201 104. TITLE The Humanities; A Compendium for Teachers, INSTITUTION Nashville - Davidson County Metropolitan Public Schools, Tenn. PUB DATE 71 NOTE 91p. !MRS PRICE MP-$0.75 HC-E4.20 PLUS POSTAGE DESCRIPTORS *Aesthetic Education; Art; Curriculum Development; Curriculum Guides; Pine Arts; *Humanities; *Humanities Instruction; *interdisciplinary Approach; Literature; Music; *Secondary Education ABSTRACT Intended to assist in the development of huaanities programs on the secondary level, this guide contains a rationale for teaching humanities, instructional objectives from the U.S. Office of Education, definitions of the concerns of the humanities, a message to teachers of the humanities, and three approaches to teaching the humanities. The three approaches suggested are the conceptual approach, which is divided into two units to discuss music, art, and literature 'under the headings of than Seeks the Diviner" and liMan Seeks Social Orderft;, the elements approach, which is subject oriented fart, Music, and literature); and the chronologicalapproach, which deals with the humanities individually by peridds:,Supplementary references are given at the end of each section. (LL) I OEPAIIIIMINT OF NM" EDUCATION I WELFARE NATIONAL INSTITUTE OP EDUCATION THIS DOCUMENT I4AS BEEN REPRO DUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGIN ATINO IT. POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRE SENT OFFICIAL NATIONAL INSTITUTE OF EDUCATION POSITION OR POLICY rte. t 7 S )11.11111111.--1W-41.- `Mom THE HUMANITIES: A COMPENDIUM FOR TEACHERS IA the Makopoti.tan Pubta. School's o 6 Nab halle Tenneaa ee 1971 THE HUMANITIES / ACKNOWLEDGMENTS ACKNOWLEDGMENTS Soctivi of Education C. R. Dorrier, Chairman Frank P. Grisham, Vice Chairman L. C. Biggs Isaiah T. Creswell Mrs. Irwin B. Eskind Walden S. Fabry W. 3. Harbison Mrs. C. F. Mager THE HUMANITIES, Steeking Committee G. H. Waters, Chairman Howard F. Brown Mrs. Elizabeth K. Burgess John Dossoy Mrs. Saradale D. Frierson Charles L. Bailey Hale Harris James Hughes H. B. McDonough Beasley T. Overbey, Jr. Mrs. Margaret Rhame Mrs. Barbara Schneider Mrs. Jessica B. Strassle Edmond M. Tipton Metitopotit4n Pubtie Schoot4 Naaatte, Tenne44ee THE HUMANIT1ESs A COMPENDIUM / ACKNOWLEDGMENTS ACKNOWLEDGMENTS Nucto4 oi Schoot4 Dr. Elbert D. Brooks Ad4i4tant Supehintendent, in4 tAuctkon Dr. L. Linton Deck, Jr. THE HUMANITIES Comittee Mrs. Elizabeth K. Burgess, Adv4ot Mrs. Margaret Rhame, Coondknatot Mrs. Barbara Schneider Miss Sue Senter Mrs. Jessica Strassle Mrs. Wanda S. Hudson, EditoAiat Comatant Newton S. Holiday, Attat FOREWORD FOREWORD This publication, THE HUMANITIESt A COMPENDIUM FOR TEACHERS IN THE METROPOLITAN PUBLIC SCHOOLS, NASHVILLE, TENNESSEE," is intended to encourage and offer direction in the develop- ment of humanities programs on the secondary level; Along with the consideratiOn that has been given to the selection of materials, suggestions have been made as to methodology of approach; however, the challenge and the success of the programming will depend on the individual teacher or teaching team in- volved in evaluating the classroom situation and meeting the needs of the particular students. While teaching as a team is con- sidered best, it is the hope of the committee that many teachers will feel the urge to participate in the de velopment of a successful program. the Hu/mkt-tie:4 Committee iv RATIONALE RATIONALE The lives of men reflect an infinite pattern of change. Yet, within each pattern there are subtleties of thought and emotion which reflect a unity between the man of the past, the man of the present, and, inevitably, the man of the future. Frequently educators expose their students to fragmentations of man's crea- tiveness and endeavors, never allowing their pu- pils the satisfaction of recognizing man as a totality. The humanities approach to learning reveals the beauty, vitality, and ingenuity of the human life that has intrigued the artist, the musician, the historian, and the poet for centur- ies. Such an approach can only be pursued by one who is not only well-informed, but who savors the richness of sound teaching find ef- fective learning--both of which must result in the fruition, the permanent betterment of the student. The humanities approach leads the student to consider values. It establishes an awareness of freedom and responsibility. The stu- dent learns that, within limits, men have choices among alternatives; that these choices should be made carefully and thoughtfully; that making a choice is an act; and that acts have consequences. INSTRUCTIONAL OBJECTIVES IN THE HUMANITIES f/tom U. S. Office of Education INSTRUCTIONAL To introduce cat students (in- OBJECTIVES cluding the vocationally minded who will not go beyond high school) to the study of man--his nature, the full de- velopment of his faculties, the realization of his aspirations, and the secOring of his well being. To help the student come to know himself, to understand what has shaped his be- liefs, attitudes, and fortunes, and to develop a critical sense which will allow him as an individual to select and preserve the best in human societies. To develop in the student an attitude toward life which centers on 'the inherent dignity of each individual human being. To help the student reconcile freedom with social control. To cultivate his understanding of the unresolved conflicts and struggles that have persisted throughout human history. To develop his understanding of how social relations between different segments of society influence the form and content of liter- ature and the arts. To develop in the student an understanding of how language shapes ideas within a culture and is at the same time an expression of that culture. To give the student the ex- perience of personal involvement with ideas that have moved and shaped human societies. DEFINITIONS DEFINITIONS The humanities deal with man's awareness and response to the human situation. The humanities are concerned with the responses of man expressed through many different media. The humanities involve man's ultivate qucstions, his search for answers, and his formulation of values. The humanities explore and illuminate that which is human and humane. The humanities present man in his present, looking at the past and facing the future. The humanities deal with the behavior of the human mind and human emotions. The humanities show ways in which man has attempted to create form out of chaos. The humanities work toward "a solution to the problem of existence." A MESSAGE TO TEACHERS OP HUMANITIES A MESSAGE This guide is designed as a resource for suggested approa- ches and materials. The selection and use of approa- ehes and of materials are entirely dependent upon the particular situation. it is the responsibility of the teacher to determine what he can expect to elicit from his students and to select the material and the approaches accordingly. The three approaches suggested in this guide are the conceptual, the elemental, and the chronological. Lists of materials which might be appropriately used with each approach are given, but materials and ideas for presentation can be drawn from any source. The lists and suggestions of- fered here are not exhaustive; the categories are not restrictive. The materials and suggestions can be used in numerous ways. There are as many differ- ent ways of approaching a humanities study as there are individuals to devise them. Additional approaches which have been utilized in other humanities programs in- clude: Culture Epochs, Great Themes, Great Works, Allied Arts (consumer and performer), Cultural His- tory, Basic Concerns Shared by All Men, and Ameri- can Studies. THE HUMANITIES / TABLE OP CONTENTS TABLE OF CONTENTS Acknowtedgments iv Foteivoitd v Rationate vi Objeettve4: United State4 Vepaktment o6 Education Ve6inaLon4 via A Me44age to Teachem 1 CONCEPTUAL APPROACH. 21 ELEMENTAL APPROACH 37 CHRONOLOGICAL APPROACH MAN'S SEARCH FOR ORDER / CONCEPTUAL APPROACH 110 MAN'S SEARCH FOR ORDER OVERALL OBJECTIVE To increase warengss and un- derstanding Of man s basic searches by examining the values which have determined man's pursuits and by studying the medium through which man chooses to express his concerns. UNIT I: MAN SEEKS THE DIVINE OVERALL OBJECTIVE To create an awareness of the timelessness and universality of man's basic searches. SPECIFIC OBJECTIVES (1) To provide opportunity for developing an appreciation and Una knowledge of cultural traditions, and to discover a means of understanding other cultures and other ci- vilizations. (2) TO engender a spirit of purposefulness in examining the personal relation- ship between man and his God, and the individual's concept of and response to this kind of relation- ship. CONCEPT Man's relation to the powers of the universe appears in three forms: as participation, as religion, and as world religion. For purposes of this concept, paAticipation, Aetigion, and woad Attigbon assume 1 MAN'S SEARCH FOR ORDER / CONCEPTUAL ORDER a certain characteristics: Peattetpation is a purely phy- sical bond.Through his emotions, through his sen- sations, and through magic, man merges with his an- cestral and totemistic demons. Reagton is a personal, physical and mental relationship. In religion, man for the first time faces his life-giving principle in the deity per se, detached from its human descendants. Man differentiates and disconnects himself from his life-giving principle, and at the same time, recon- nects himself with it mentally. It still contains the physical bond of participation, but goes beyond the physical, biological bond. Woad ice/U.04n, or profession of faith, is a purely spiritual relationship. The concept of world religion is the profession of a universal god as creator, lord and savior, who is no longer a biologically related ancestor.The )tonnection, sprung of faith and of confidence, \../constitutes the sole basis of man's allegiance to God. World religion.is not religion in its original senses it is a creed, a spiritual profession of faith. MAN SEEKS Music, found in all civili- THE DIVINE Cations, appeals to the mind THROUGH MUSIC of man.
Recommended publications
  • Early Fifteenth Century
    CONTENTS CHAPTER I ORIENTAL AND GREEK MUSIC Section Item Number Page Number ORIENTAL MUSIC Ι-6 ... 3 Chinese; Japanese; Siamese; Hindu; Arabian; Jewish GREEK MUSIC 7-8 .... 9 Greek; Byzantine CHAPTER II EARLY MEDIEVAL MUSIC (400-1300) LITURGICAL MONOPHONY 9-16 .... 10 Ambrosian Hymns; Ambrosian Chant; Gregorian Chant; Sequences RELIGIOUS AND SECULAR MONOPHONY 17-24 .... 14 Latin Lyrics; Troubadours; Trouvères; Minnesingers; Laude; Can- tigas; English Songs; Mastersingers EARLY POLYPHONY 25-29 .... 21 Parallel Organum; Free Organum; Melismatic Organum; Benedica- mus Domino: Plainsong, Organa, Clausulae, Motets; Organum THIRTEENTH-CENTURY POLYPHONY . 30-39 .... 30 Clausulae; Organum; Motets; Petrus de Cruce; Adam de la Halle; Trope; Conductus THIRTEENTH-CENTURY DANCES 40-41 .... 42 CHAPTER III LATE MEDIEVAL MUSIC (1300-1400) ENGLISH 42 .... 44 Sumer Is Icumen In FRENCH 43-48,56 . 45,60 Roman de Fauvel; Guillaume de Machaut; Jacopin Selesses; Baude Cordier; Guillaume Legrant ITALIAN 49-55,59 · • · 52.63 Jacopo da Bologna; Giovanni da Florentia; Ghirardello da Firenze; Francesco Landini; Johannes Ciconia; Dances χ Section Item Number Page Number ENGLISH 57-58 .... 61 School o£ Worcester; Organ Estampie GERMAN 60 .... 64 Oswald von Wolkenstein CHAPTER IV EARLY FIFTEENTH CENTURY ENGLISH 61-64 .... 65 John Dunstable; Lionel Power; Damett FRENCH 65-72 .... 70 Guillaume Dufay; Gilles Binchois; Arnold de Lantins; Hugo de Lantins CHAPTER V LATE FIFTEENTH CENTURY FLEMISH 73-78 .... 76 Johannes Ockeghem; Jacob Obrecht FRENCH 79 .... 83 Loyset Compère GERMAN 80-84 . ... 84 Heinrich Finck; Conrad Paumann; Glogauer Liederbuch; Adam Ile- borgh; Buxheim Organ Book; Leonhard Kleber; Hans Kotter ENGLISH 85-86 .... 89 Song; Robert Cornysh; Cooper CHAPTER VI EARLY SIXTEENTH CENTURY VOCAL COMPOSITIONS 87,89-98 ...
    [Show full text]
  • In Their Own Words: Voices of Jihad
    THE ARTS This PDF document was made available from www.rand.org as CHILD POLICY a public service of the RAND Corporation. CIVIL JUSTICE EDUCATION Jump down to document ENERGY AND ENVIRONMENT 6 HEALTH AND HEALTH CARE INTERNATIONAL AFFAIRS The RAND Corporation is a nonprofit research NATIONAL SECURITY POPULATION AND AGING organization providing objective analysis and PUBLIC SAFETY effective solutions that address the challenges facing SCIENCE AND TECHNOLOGY the public and private sectors around the world. SUBSTANCE ABUSE TERRORISM AND HOMELAND SECURITY Support RAND TRANSPORTATION AND INFRASTRUCTURE Purchase this document WORKFORCE AND WORKPLACE Browse Books & Publications Make a charitable contribution For More Information Visit RAND at www.rand.org Learn more about the RAND Corporation View document details Limited Electronic Distribution Rights This document and trademark(s) contained herein are protected by law as indicated in a notice appearing later in this work. This electronic representation of RAND intellectual property is provided for non-commercial use only. Unauthorized posting of RAND PDFs to a non-RAND Web site is prohibited. RAND PDFs are protected under copyright law. Permission is required from RAND to reproduce, or reuse in another form, any of our research documents for commercial use. For information on reprint and linking permissions, please see RAND Permissions. This product is part of the RAND Corporation monograph series. RAND monographs present major research findings that address the challenges facing the public and private sectors. All RAND monographs undergo rigorous peer review to ensure high standards for research quality and objectivity. in their own words Voices of Jihad compilation and commentary David Aaron Approved for public release; distribution unlimited C O R P O R A T I O N This book results from the RAND Corporation's continuing program of self-initiated research.
    [Show full text]
  • Master Thesis-Cyprus.Final
    MORTUARY PRACTICES IN LC CYPRUS A Comparative Study Between Tombs at Hala Sultan Tekke and Other LC Bronze Age Sites in Cyprus Marcus Svensson Supervisor: Lovisa Brännstedt Master’s Thesis in Classical Archaeology and Ancient History Spring 2020 Department of Archaeology and Ancient History Lund University Abstract This thesis investigates differences and similarities in the funerary material of Late Bronze Age Cyprus in order to answer questions about a possible uniqueness of the pit/well tombs at the Late Bronze Age harbour city of Hala Sultan Tekke. The thesis also tries to explain why these features stand out as singular, compared to the more common chamber tomb, and the reason for their existence. The thesis concludes that although no direct match to the pit/well tombs can be found in Cyprus, there are features that might have had enough similarities to be categorised as such, but since the documentation methods of the time were too poor one cannot say for certain. The thesis also gives an explanation of why not more of these features appear in the funerary material in Cyprus, and the answer is simply that the pit/well tombs were not considered to be tombs but wells. Furthermore, direct parallels to the pit/well tombs can be found on mainland Greece, first and foremost at the south room of the North Megaron of the Cyclopean Terrace Building at Mycenae but also at the Athenian Agora. Key Words Hala Sultan Tekke, Late Cypriote Bronze Age, pit/well tombs, chamber tombs, shaft graves, Mycenae. Acknowledgements This thesis is entirely dedicated to the team of the New Swedish Cyprus Expedition, especially Jacek Tracz who helped me restore the assembled literature in a time of need, and to Anton Lazarides for proofreading.
    [Show full text]
  • MUSIC NOTES: Exploring Music Listening Data As a Visual Representation of Self
    MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall A thesis submitted in partial fulfillment of the requirements for the degree of: Master of Design University of Washington 2016 Committee: Kristine Matthews Karen Cheng Linda Norlen Program Authorized to Offer Degree: Art ©Copyright 2016 Chad Philip Hall University of Washington Abstract MUSIC NOTES: Exploring Music Listening Data as a Visual Representation of Self Chad Philip Hall Co-Chairs of the Supervisory Committee: Kristine Matthews, Associate Professor + Chair Division of Design, Visual Communication Design School of Art + Art History + Design Karen Cheng, Professor Division of Design, Visual Communication Design School of Art + Art History + Design Shelves of vinyl records and cassette tapes spark thoughts and mem ories at a quick glance. In the shift to digital formats, we lost physical artifacts but gained data as a rich, but often hidden artifact of our music listening. This project tracked and visualized the music listening habits of eight people over 30 days to explore how this data can serve as a visual representation of self and present new opportunities for reflection. 1 exploring music listening data as MUSIC NOTES a visual representation of self CHAD PHILIP HALL 2 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF: master of design university of washington 2016 COMMITTEE: kristine matthews karen cheng linda norlen PROGRAM AUTHORIZED TO OFFER DEGREE: school of art + art history + design, division
    [Show full text]
  • Matters of Life and Death, Museum of Fine Arts, Boston Hyman Bloo
    HYMAN BLOOM Born Brunoviski, Latvia, 1913 Died 2009 SELECTED SOLO EXHIBITIONS 2019 Hyman Bloom: Matters of Life and Death, Museum of Fine Arts, Boston Hyman Bloom American Master, Alexandre Gallery, New York 2013 Alpha Gallery, Boston Massachusetts Hyman Bloom Paintings: 1940 – 2005, White Box, New York 2006 Hyman Bloom: A Spiritual Embrace, The Danforth Museum, Framingham, Massachusetts. Travels to Yeshiva University, New York in 2009. 2002 Color & Ecstasy: The Art of Hyman Bloom, The National Academy of Design, New York 2001 Hyman Bloom: The Lubec Woods, Bates College, Museum of Art. Traveled to Olin Arts Center, Lewiston Maine. 1996 The Spirits of Hyman Bloom: Sixty Years of Painting and Drawing, Fuller Museum, Brockton, Massachusetts 1992 Hyman Bloom: Paintings and Drawings, The Art Gallery, University of New Hampshire, Durham 1990 Hyman Bloom: “Overview” 1940-1990, Terry Dintenfass Gallery, New York 1989 Hyman Bloom Paintings, St. Botolph Club, Boston 1983 Hyman Bloom: Recent Paintings, Terry Dintenfass Gallery, New York 1975 Hyman Bloom: Recent Paintings, Terry Dintenfass Gallery, New York 1972 Hyman Bloom Drawings, Terry Dintenfass Gallery, New York 1971 Hyman Bloom Drawings, Terry Dintenfass Gallery, New York 1968 The Drawings of Hyman Bloom, University of Connecticut of Museum of Art, Storrs. Travels to the San Francisco Museum of Art, San Francisco; the Whitney Museum of American Art, New York; and the Boston University School of Fine and Applied Arts Gallery, Boston. 1965 Hyman Bloom Landscape Drawings 1962-1964, Swetzoff Gallery, Boston 1957 Drawings by Hyman Bloom, Currier Museum of Art, Manchester, NH. Travels to The Museum of Art, Rhode Island School of Design; and the Wadsworth Atheneum, Hartford, CT Hyman Bloom Drawings, Swetzoff Gallery, Boston 1954 Hyman Bloom, Institute of Contemporary Art, Boston.
    [Show full text]
  • 01A-Front Page
    July 2005 Volume 36, Issue 3 Court Rules: Historic Designation of Coronado Belt Line Unlawfully Set Aside by City Council SUSAN BRANDT HAWLEY The San Diego Historical Resources Board has declared after careful review that the portion of the Coronado Belt Line railway located in San Diego is a historic site. At the request of the MTDB and Councilmember Ralph Inzunza, the City Council overturned the Board’s desig- nation in 2004 against the recommendations of City staff and the City Manager, with Councilmember Donna Frye as the sole dissenting vote. Save Our Heritage Organisa- tion (SOHO) sued the City because, as City staff pointed out, there was no legal basis to overturn the historic status. (San Diego Superior Court Case GIC837743.) On July 15th, San Diego Superior Court Judge Ronald S. Prager ruled in favor of SOHO, agreeing that the City acted unlawfully and granting a peremptory writ requir- ing the City to set aside its action. (See ruling at www.sandiego.courts.ca.gov.) Photo/Bruce Coons The Coronado Belt Line looped around the San Diego coastline and up the Silver Strand to Coronado as part of the Spreckels railroad empire, contributing to San Diego’s growth and vitality as it linked the City with the harbor and South Bay communities. From 1888 until the mid-20th century, the Belt Line regularly transported residents, visitors, World War I and II military shipments, agricultural products, building materials, and commer- cial and industrial wares through the region. SOHO Executive Director Bruce Coons said, “This is an important precedent proving that the City Council can not arbitrarily overturn historic designations just because they want to approve some ill-advised development scheme.
    [Show full text]
  • Contemporary American Painting and Sculpture
    AT UR8ANA-GHAMPAIGN ARCHITECTURE The person charging this material is responsible for .ts return to the library from which it was withdrawn on or before the Latest Date stamped below '"" """"""'"9 "< "ooks are reason, ™racTo?,'l,°;'nary action and tor di,elpl(- may result in dismissal from To renew the ""'*'e™«y-University call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN I emp^rary American Painting and Sculpture University of Illinois Press, Urbana, 1959 Contemporary American Painting and Scuipttfre ^ University of Illinois, Urbana March 1, through April 5, 195 9 Galleries, Architecture Building College of Fine and Applied Arts (c) 1959 by the Board of Trustees of the University of Illinois Library of Congress Catalog Card No. A4 8-34 i 75?. A^'-^ PDCEIMtBieiiRr C_>o/"T ^ APCMi.'rri'Ht CONTEMPORARY AMERICAN PAINTING AND SCULPTURE DAVID D. HENRY President of the University ALLEN S. WELLER Dean, College of Fine and Applied Arts Chairman, Festival of Contemporary Arts N. Britsky E. C. Rae W. F. Doolittlc H. A. Schultz EXHIBITION COMMITTEE D. E. Frith J. R. Shipley \'. Donovan, Chairman J. D. Hogan C. E. H. Bctts M. B. Martin P. W. Bornarth N. McFarland G. R. Bradshaw D. C. Miller C. W. Briggs R. Perlman L. R. Chesney L. H. Price STAFF COMMITTEE MEMBERS E. F. DeSoto J. W. Raushenbergcr C. A. Dietemann D. C. Robertson G. \. Foster F. J. Roos C. R. Heldt C. W. Sanders R. Huggins M. A. Sprague R. E. Huh R. A. von Neumann B. M. Jarkson L. M. Woodroofe R. Youngman J.
    [Show full text]
  • A Listening Guide for the Indispensable Composers by Anthony Tommasini
    A Listening Guide for The Indispensable Composers by Anthony Tommasini 1 The Indispensable Composers: A Personal Guide Anthony Tommasini A listening guide INTRODUCTION: The Greatness Complex Bach, Mass in B Minor I: Kyrie I begin the book with my recollection of being about thirteen and putting on a recording of Bach’s Mass in B Minor for the first time. I remember being immediately struck by the austere intensity of the opening choral singing of the word “Kyrie.” But I also remember feeling surprised by a melodic/harmonic shift in the opening moments that didn’t do what I thought it would. I guess I was already a musician wanting to know more, to know why the music was the way it was. Here’s the grave, stirring performance of the Kyrie from the 1952 recording I listened to, with Herbert von Karajan conducting the Vienna Philharmonic. Though, as I grew to realize, it’s a very old-school approach to Bach. Herbert von Karajan, conductor; Vienna Philharmonic (12:17) Today I much prefer more vibrant and transparent accounts, like this great performance from Philippe Herreweghe’s 1996 recording with the chorus and orchestra of the Collegium Vocale, which is almost three minutes shorter. Philippe Herreweghe, conductor; Collegium Vocale Gent (9:29) Grieg, “Shepherd Boy” Arthur Rubinstein, piano Album: “Rubinstein Plays Grieg” (3:26) As a child I loved “Rubinstein Plays Grieg,” an album featuring the great pianist Arthur Rubinstein playing piano works by Grieg, including several selections from the composer’s volumes of short, imaginative “Lyrical Pieces.” My favorite was “The Shepherd Boy,” a wistful piece with an intense middle section.
    [Show full text]
  • A History of Rhythm, Metronomes, and the Mechanization of Musicality
    THE METRONOMIC PERFORMANCE PRACTICE: A HISTORY OF RHYTHM, METRONOMES, AND THE MECHANIZATION OF MUSICALITY by ALEXANDER EVAN BONUS A DISSERTATION Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Department of Music CASE WESTERN RESERVE UNIVERSITY May, 2010 CASE WESTERN RESERVE UNIVERSITY SCHOOL OF GRADUATE STUDIES We hereby approve the thesis/dissertation of _____________________________________________________Alexander Evan Bonus candidate for the ______________________Doctor of Philosophy degree *. Dr. Mary Davis (signed)_______________________________________________ (chair of the committee) Dr. Daniel Goldmark ________________________________________________ Dr. Peter Bennett ________________________________________________ Dr. Martha Woodmansee ________________________________________________ ________________________________________________ ________________________________________________ (date) _______________________2/25/2010 *We also certify that written approval has been obtained for any proprietary material contained therein. Copyright © 2010 by Alexander Evan Bonus All rights reserved CONTENTS LIST OF FIGURES . ii LIST OF TABLES . v Preface . vi ABSTRACT . xviii Chapter I. THE HUMANITY OF MUSICAL TIME, THE INSUFFICIENCIES OF RHYTHMICAL NOTATION, AND THE FAILURE OF CLOCKWORK METRONOMES, CIRCA 1600-1900 . 1 II. MAELZEL’S MACHINES: A RECEPTION HISTORY OF MAELZEL, HIS MECHANICAL CULTURE, AND THE METRONOME . .112 III. THE SCIENTIFIC METRONOME . 180 IV. METRONOMIC RHYTHM, THE CHRONOGRAPHIC
    [Show full text]
  • Symposium Records Cd 1109 Adolf Busch
    SYMPOSIUM RECORDS CD 1109 The Great Violinists – Volume 4 ADOLF BUSCH (1891-1952) This compact disc documents the early instrumental records of the greatest German-born musician of this century. Adolf Busch was a legendary violinist as well as a composer, organiser of chamber orchestras, founder of festivals, talented amateur painter and moving spirit of three ensembles: the Busch Quartet, the Busch Trio and the Busch/Serkin Duo. He was also a great man, who almost alone among German gentile musicians stood out against Hitler. His concerts between the wars inspired a generation of music-lovers and musicians; and his influence continued after his death through the Marlboro Festival in Vermont, which he founded in 1950. His associate and son-in-law, Rudolf Serkin (1903-1991) maintained it until his own death, and it is still going strong. Busch's importance as a fiddler was all the greater, because he was the last glory of the short-lived German school; Georg Kulenkampff predeceased him and Hitler's decade smashed the edifice built up by men like Joseph Joachim and Carl Flesch. Adolf Busch's career was interrupted by two wars; and his decision to boycott his native country in 1933, when he could have stayed and prospered as others did, further fractured the continuity of his life. That one action made him an exile, cost him the precious cultural nourishment of his native land and deprived him of his most devoted audience. Five years later, he renounced all his concerts in Italy in protest at Mussolini's anti-semitic laws.
    [Show full text]
  • Lo Chansonnier Du Roi Luoghi E Autori Della Lirica E Della Musica Europee Del Duecento
    Lo Chansonnier du Roi Luoghi e autori della lirica e della musica europee del Duecento Facoltà di Lettere e Filosofia Dottorato in Musica e Spettacolo Curriculum di Storia e Analisi delle Culture Musicali Candidato Alexandros Maria Hatzikiriakos Tutor Co-Tutor Prof. Emanuele Giuseppe Senici Prof. Davide Daolmi a Niccolò Ringraziamenti Seppur licenziata sotto il nome di un solo autore, questa tesi ha raccolto una considerevole quantità di debiti, nel corso dei suoi tre anni di gestazione, che mi è impossibile ignorare. Agli studi e al prezioso aiuto di Stefano Asperti devo non solo il fondamento di questo lavoro, ma anche un supporto indispensabile. Parimenti ad Anna Radaelli, sono grato per un sostegno costante, non solo scientifico ma anche morale ed emotivo. Non di meno, i numerosi consigli di Emma Dillon, spesso accompagnati da confortanti tazze di caffè nero e bollente, mi hanno permesso di (ri-)trovare ordine nel coacervo di dati, intuizioni e deduzioni che ho dovuto affrontare giorno dopo giorno. A Simon Gaunt devo un prezioso aiuto nella prima e confusa fase della mia ricerca. A Marco Cursi e Stefano Palmieri devo una paziente consulenza paleografica e a Francesca Manzari un’indispensabile expertise sulle decorazioni del Roi. Ringrazio inoltre Davide Daolmi per la guida, il paziente aiuto e le numerose “pulci”; Maria Teresa Rachetta, filologa romanza, per aver lavorato e presentato con me i primi frutti di questa ricerca, lo Chansonnier du Roi per avermi dato l’opportunità di conoscere Maria Teresa Rachetta, l’amica; Livio Giuliano per ragionamenti improbabili ad ore altrettanto improbabili, sulla sociologia arrageois; Cecilia Malatesta e Ortensia Giovannini perché … il resto nol dico, già ognuno lo sa.
    [Show full text]
  • Understanding Music Past and Present
    Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Understanding Music Past and Present N. Alan Clark, PhD Thomas Heflin, DMA Jeffrey Kluball, EdD Elizabeth Kramer, PhD Dahlonega, GA Understanding Music: Past and Present is licensed under a Creative Commons Attribu- tion-ShareAlike 4.0 International License. This license allows you to remix, tweak, and build upon this work, even commercially, as long as you credit this original source for the creation and license the new creation under identical terms. If you reuse this content elsewhere, in order to comply with the attribution requirements of the license please attribute the original source to the University System of Georgia. NOTE: The above copyright license which University System of Georgia uses for their original content does not extend to or include content which was accessed and incorpo- rated, and which is licensed under various other CC Licenses, such as ND licenses. Nor does it extend to or include any Special Permissions which were granted to us by the rightsholders for our use of their content. Image Disclaimer: All images and figures in this book are believed to be (after a rea- sonable investigation) either public domain or carry a compatible Creative Commons license. If you are the copyright owner of images in this book and you have not authorized the use of your work under these terms, please contact the University of North Georgia Press at [email protected] to have the content removed. ISBN: 978-1-940771-33-5 Produced by: University System of Georgia Published by: University of North Georgia Press Dahlonega, Georgia Cover Design and Layout Design: Corey Parson For more information, please visit http://ung.edu/university-press Or email [email protected] TABLE OF C ONTENTS MUSIC FUNDAMENTALS 1 N.
    [Show full text]